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References. Title: St. John the Evangelist. Artist: John Flaxman (British, York 1755–1826 London) Date: ca. 1811. Medium: Brush and brown wash over graphite. Dimensions: Sheet: 28 15/16 × 15 1/16 in. (73.5 × 38.3 cm) Classification: Drawings. Credit Line: The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 2013. Accession Number ...
30 nov 2023 · John Flaxman, born in 1755 in England, was an English sculptor, designer, and illustrator. He is known as a leader in English Neoclassical art. As a child, Flaxman would spend a lot of time in his father’s plaster-casting shop.
John Flaxman. Reino Unido, 1755–1826. Neoclasicismo. El líder de los dilettanti (aficionados) según Goethe. Cuando leemos, tenemos la tendencia a imaginarnos siempre unos rasgos característicos para cada personaje. John Flaxman tenía un auténtico don para ello, por eso ha influenciado a tantos ilustradores o artistas en general con ...
14 ago 2019 · When Flaxman was appointed professor of sculpture at the RA in 1810, the acerbic painter Henry Fuseli left a dinner party to attend his inaugural lecture; his parting words were: “Farewell friends – farewell wine – farewell wit. I must leave you all and hear a sermon, the first preached by the Reverend John Flaxman.”
Title: Achilles and the Shade of Patroclus. Artist: John Flaxman (British, York 1755–1826 London) Date: 1793. Medium: Pen and black ink over graphite. Dimensions: Sheet: 8 3/8 x 11 3/8 in. (21.3 x 28.9 cm) Classification: Drawings. Credit Line: Rogers Fund, 1918.
John Flaxman Style. The influence of antiquated Roman and Greek style is very evident throughout Flaxman's work. Mythical and historical scenes are played out within in both his drawings and sculptures and a sense of drama and narrative flows through each. In response to the over-complicated Rococo style of the early 18th century, Neoclassicism ...
John Flaxman British. 1779–1810. Not on view. This delicate ink-and-wash drawing of two young women contemplating a fire relates broadly to Flaxman's tomb designs. Since the figures are fully alive and their sense of loss only implied, the work could instead respond to a literary source. During his long stay in Rome (1787–94), the artist ...
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